The art of eco-nudging: interactive digital art as didactic agents of change in the built environment

رهیافت تحلیلیِ هنر دیجیتالیتعاملی با تاکید بر ادراک بدنمند مرلوپونتی (مطالعه موردی: نمایشگاه هنرمندان و روباتهای پاریس

We present a methodology about real-time 3D fluid simulation system using BCI (brain–computer interface). Spectators appreciate our work with their emotion. The advance of technology has exerted huge impacts on arts and as result a new genre called digital art has emerged. In digital art, interaction is an important element. Various types of interaction are bein g implemented in digital art using touch, hand gesture, sound, movement, etc., even brain wave. Usually, digital artists pursue interactions in their art work; the reason is that they want spectators’ deep appreciation and involvement. However, many of interactive digital art works fail to induce interaction as much as the artists expected. If visible interaction is weak, or interaction result is weak, spectators are not immersed much in the work. Nowadays, there are many interactive digital arts. In digital art, new type of interaction is needed to captivate spectators. So, we tried to implement BCI interaction digital art prototype (tentative title: Soul flow). Electroencephalography (EEG) is the recording of brain electrical activity along the scalp. We measured user’s EEG signal using MindSet (the MindSet senses EEG brainwave data to power the innovation of laboratory researchers and application developers like no other EEG device in the world. It delivers RAW signal, power frequency bands and NeuroSky eSense meters:attention, meditation. http://www.neurosky.com/products/mindset.aspx) to take user’s emotional state on appreciating digital art. We can get user’s emotional state in four categories (attention/inattention, meditation/uneasiness) and these emotional states interact with 3D fluid simulation system in real-time. In this art work prototype, each spectator experiences each different fluid (scale, speed and visual) because each spectator has different emotional state. Our art work prototype expressed the flow through water flow simulation. Flow means the mental state of operation in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity. In essence, flow is characterized by complete absorption in what one does (The psychology of optimal experience 1990). In addition, it means stream in water flow. We pursued these concepts and expressed to 3D fluid simulation digital art using BCI. We used Unity3D and MindSet to implement our art work prototype. This study will expand the participation of the spectator in digital art. In addition, it will expand the possibilities of BCI in digital art interaction.

Interactive digital art can be a beneficial therapeutic intervention for a variety of populations, but specifically for the population of intellectual and developmental disabilities. Interactive digital art uses the engagement of the participant to create a digital form of art. The purpose of this literature review is to explore the effects that interactive art has on individuals with intellectual and developmental disabilities. Interactive arts discussed were used in a variety of settings ranging from sand art, to using video games, or interactive art exhibits. Sand art and other digital painting methods were proven to be beneficial in improving cognitive functioning and social aspects of those with intellectual disabilities. While exploring the various settings, participant feedback was given in association with using interactive digital art.

Digital interactive art provokes active inputs from the audience along with enjoyable and curious experiences, which alter the way audiences perceive and experience art. Through interactivity, outcomes become discernable and manifest upon diverse multimedia interfaces. This process is referred to as “play” - the action and outcome are often deemed major elements of this process. The purpose of this study is to deepen understanding of how artistic intent can be elicited through playful interactivities and to investigate forms of play that affect audience perceptions to, and encounters with, digital interactive arts. This research mainly focuses on interactions of play that take place between the audience and digital interactive arts installed in public spaces. By studying four interactive art installations in the MRT systems (Mass Rapid Transit) and in art galleries, as well as analyzing interviews carried out with the research participants, and art professionals, a number of important qualities and modes of play have been established.

In a broad sense, digital art is contemporary art using mass production or digital media methods. Data can be operated in various ways and stored in the database, and applied in various environments and various disciplines. Long distance information transmission technology has changed the way people participate in artistic activities. Art works begin to have not only interactive and non-material characteristics, but also break the limitations of time and space. The most prominent feature of digital interactive art is digital and interactive. Digital art works must fully or partially use digital technology in the implementation process. Digital art can be purely computer-generated, or draw images through mouse markers and drawing boards by scanning photos or using vector graphics software. This article is based on 3D digital interactive technology, using comparative analysis, document analysis and other methods to study the creative painting automatic design system, with a view to perfecting the structure of the creative painting automatic design system, improving the level of artistic design, and designing more creative and meaningful designs. Digital painting works. The thesis first sorts out the application status of 3D digital interactive technology in the field of contemporary art, then compares the similarities and differences between traditional art works and 3D digital interactive technology artworks, emphasizes the multi-dimensional interactive logic of 3D digital interactive technology art works, and then analyzes 3D digital The main morphological characteristics of interactive art make a reasonable argument for the realization of complementary advantages after the automatic design system of creative painting is integrated into 3D digital interactive art.

In this article, we study how interactive digital art is applied in interior design under the ecological concept, focusing on color innovation and image technology to enhance the aesthetics and functionality of interior decoration. The article studies the three elements of color design and their application in product design. The K-Means clustering method is used to classify color imagery words in interior design, and the GAN model is combined to generate interior design colors. The results show that the error qualification rate for the color design scheme coding combination serial number is 88.2%. The composition of interior image decoration systems, digitization processing, and image fusion technology are also a part of this. A method for analyzing the impact of indoor digital decoration based on the ecological concept was proposed after studying the application range of interior decorative colors using cluster analysis. A questionnaire survey was conducted to analyze the perceptual imagery of interior decoration design. Interactive digital art can effectively enhance the aesthetics and functionality of interior design while reaffirming the ecological concept.

The rapid growth of science and technology influences to Digital Arts. Digital art is no more unfamiliar genre in art field. We can see many kinds of digital arts in our surroundings. High technology makes digital art more brilliant and various. Interactivity is very important factor in digital art. Some interactive digital art works are look like a game. Many digital artists make their art works like game using reactions of spectators. For examples, touching, sound, moving and so on. Many kinds of interactive control elements are used in interactive arts. Some interactive artworks are called game art, because they have strong disposition of games. Usually, we define game art when i®goal' and 'match' concept is used in interactive art. Interactive art and game are very similar genre. One of important things are spectators and they are immersed to the interactive artwork when the artwork has dispositions of games. Most digital artists design their artwork using their own philosophical thinking. However, we tried to apply the learning system that is related to the game to interactive artworks. In the artistic point of view, we analyzed i®Insight Learning', i®Reinforcement Learning',' Neural Network', and i®Fuzzy' in some digital interactive artworks. These learning systems are typical learning system in game fields.

The primary objective of this paper is the data analysis of digital interactive art on Jordanian university students using information technology. The study also uses information technology because of the opportunities that technology provides for an interactive nature between the in-novative process, productivity, and high flexibility. The data is collected using a questionnaire, and the majority of the study population is made up of Jordanian university students. Accord-ing to the findings of this study, Digital Interactive Art has a substantial influence on Jordani-an University Students' Information Technology.

Art-viewers spend time with art. Digital-media-art viewers' engagement is not only time-based but extendable, since depending on the level of aesthetic interaction, people spend more time with the piece, allowing more time to understand the meaning of the work. Interactive digital media art yields an experiential event to art-viewers. Without this interactive event the artwork’s existence becomes questionable. The meaning is output by an art-viewers input; set in a temporal space. A number of studies in HCI, UI, and UX design have dealt with various aspects of time. This paper intends to analyze time as an aesthetic element, and as the reason art-viewers invest their time with interactive digital media art works for artists and designers to understand what they and their prospective viewers are dealing with.

Experience in a virtual world helps to feel a new things that people cannot experience in a daily lives. That can be escape from reality and gives mysterious feeling. Theses virtual world make interaction with user and virtual world. Offering virtual environment is important elements that appear in interactive digital art. This paper will analyze about the new paradigm of digital art works that adapt a game component, consider an art works developments in a short future, organize an interactive art and art game and propose a concept about future art works.

Interactive digital art can create innovative ways to stimulate and engage audience, what could benefit the space where the installation is done. Aiming at promoting the adoption of non-used places through pleasant experiences, we considered an art project that promotes people engagement to make them become the community's wishes expression. We focus on understanding the process to translate the essence of an artistic expression using Information and Communications Technology (ICT). We translated this artistic expression into digital art installation within a socially 'abandoned' space at a workplace. The biggest challenge is to understand how people interact with the dynamic art-system, that, potentially, it leads audience to experience a highly intimate relationship with the installation and the space. Preliminary results reveal a similar behavior in the audience at both installations, which highlights the potential of ICT to translate the essence of an artistic expression and promote the adoption of a space.

The art of eco-nudging: interactive digital art as didactic agents of change in the built environment

This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the themes and narratives specific to her selection of artwork, specifically interactive digital installations and net art. By addressing these forms, the author illustrates the hybrid nature of this medium and the future of this art practice.

Digital Technology has dramatically changed the way human beings communicate. It has made distance communication possible and changed our world into a ‘Global Village’. Besides, it has influenced art experiences in a dramatical way. Like other forms of information, art is also able to reach wider audiences in all parts of the world, thus creating an effective cross-cultural communication. Throughout its history, art has always been the basis for a dialogue. However, it is the digital art which has introduced the dialogical principles in visual arts. The aim of this article is to analyze digital arts from a dialogical perspective. Focusing mainly on Martin Buber and Mikhail Bakhtin’s dialogic philosophy, the article aims to present how the trajectories of digital art and dialogical aesthetics intersect. The article proposes that although interactive art and dialogical art share many characteristics in common, all interactive digital art is not dialogic; therefore, the focus of this article will be on digital arts which use telecommunication media as a means of dialogic meaning production.

In this introduction to the special issue on digital tools for qualitative research, we focus on the intersection of new technologies and methods of inquiry, particularly as this pertains to educating the next generation of scholars. Selected papers from the 2015 International Congress of Qualitative Inquiry special strand on digital tools for qualitative research are brought together here to explore, among other things, blogging as a tool for meaning-making, social media as a data source, data analysis software for engaging in postmodern pastiche and for supporting complex teams, cell phone application design to optimize data collection, and lessons from interactive digital art that pertain to the use of digital tools in qualitative research. This collection disrupts common conceptions (and persistent misconceptions) about the relationship between digital tools and qualitative research and illustrates the entanglements that occur whenever humans intersect with the nonhuman, the human-made, or other humans.